Fashion photographer Arthur Elgort has loved jazz since he was nine years old, when a childhood friend introduced him to the music; he soon found himself frequenting jazz clubs all over his native New York City.
The dynamic style that made Elgort such a sensation in fashion photography was directly informed by his love for jazz and dance. His talent as a photographer grew alongside his interest and knowledge of jazz. By the time he was a well-known working photographer, Elgort could parlay his influence into meetings with his boyhood idols, requesting to have his favorite musicians appear in both his fashion and personal work.
Countless jazz greats have appeared in front of Elgort's camera, including Illinois Jacquet, Dexter Gordon and Dorothy Donegan. Each sitting produced not only images but memorable stories: the time Elgort took Dorothy shopping at Chanel; what it was like to shoot Dexter in his Hell's Kitchen apartment; getting to know Illinois and his wife personally. Arthur Elgort: Jazz collects these moments and more, exploring for the first time the creative exchange between the photographer and his musical heroes.
After losing himself in Taos, New Mexico, for 15 years, Dennis Hopper returned to Los Angeles in the mid-1980s. In 1987, Hopper began to use a Polaroid camera to document gang graffiti. He was particularly drawn to the abstract shapes of overlapping paint that appeared when graffiti had been covered up or written over, reminding him, he said, “that art is everywhere in every corner that you choose to frame and not just ignore and walk by.” The Polaroids presented for the first time in this book are proof of that. Hopper firmly considered himself an “Abstract Expressionist and action painter by nature, and a Duchampian finger pointer by choice.” Hopper transformed the instantaneous, disposable nature of Polaroid film into pictures as deliberate and final as images achieved by an artist painting on canvas, and these images represent the first part of his journey back to the world of photography, picking up where he had left off in the 1960s.
Aaron Rose— curator, film director, and the founder of the legendary Alleged Gallery in New York City—contributes a text, which is informed by his deep connection to the Beautiful Losers generation of artists, including Barry McGee, Mike Mills, Chris Johanson, Ari Marcopoulos, and Ed Templeton.
This book is a companion to Drugstore Camera (Damiani, 2015) also edited and designed by Michael Schmelling, which presented Hopper’s personal photographs taken in Taos, New Mexico.
Madonna NYC 83 celebrates a moment in early 1980s New York that has been increasingly reappraised in recent years for its fecund interactions and overlaps between the worlds of fashion, art and music. Coming in the wake of punk and new wave, this economically fragile period gave rise to a vital, edgy restlessness in the city, spawning adventurous personal styles and music that merged rap, funk, punk and pop.
Madonna represented this sensibility like no-one else. As this book makes amply clear, from the start she was determined to define a look for herself, and to carve out a space in the public imagination. After her countless subsequent incarnations over the past three decades, it is extraordinary to revisit these early years. Richard Corman met Madonna by chance in 1983 and created a bountiful collection of images that constitute a multifaceted portrait of the young Madonna and a New York that remains timelessly inspiring and significant.
Madonna NYC 83 is not only an homage to Madonna and the early 80s, but also a collage of exuberance, humor, fashion, sexiness and performance.
As a portrait photographer, Richard Corman has worked with subjects ranging from Nobel Peace Prize recipients (Nelson Mandela, James Dewey Watson) to actors (Robert De Niro, Paul Newman, Al Pacino), athletes (Michael Jordan, Derek Jeter, Muhammad Ali) and musicians of our time (Sting, Wynton Marsalis).
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